A good example of melding traditional chorus-building with the cinema 
idiom is the Atlantic City Ballroom organ. The same holds true with the main 
auditorium in Convention Hall. Other works of that era from Kimball and 
Midmer-Losh worked toward similar synthesis.
     Compton did some ingenious work of combining uncompromised choruses with 
extended ranks, especially in public venue instruments. Compton even used 
"shifted" windchests, so that the ranks from which he drew non-unison pitches 
were the interval's distance from the ranks they were supposed to draw to, with 
hopes that the derived off-unisons would not sound as poorly.

Sebastian M. Gluck
New York City

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